Fal nabs $140M in fresh funding led by Sequoia, tripling valuation to $4.5BThe round, which was Fal’s third fundraise this year, also included a secondary sale for early investors, sources tell us.

HOFA release Colour Saturator Colour Saturator promises to open up new possibilities for producers, mixers and sound designers, and will deliver everything from “silky harmonics and subtle warmth to aggressive distortion and extreme fuzz”.

G4 iMac Becomes a Monitor with a MagSafe SecretThe G4 iMac is one of the more popular computers in the restomodding scene given its charm and unparalleled ergonomics. Most modern machines that people squeeze in don’t have a disc drive anymore though, so [EasternBloc Engineering] has fitted a retractable MagSafe charger into the drive bay of the machine.
In this example, the iMac has become simply a monitor, instead of an entire all-in-one computer, and the original 15″ display has been replaced with a lightweight 22″ monitor on a 3D printed VESA mount. The narrow confines of the iMac neck meant [EasternBloc Engineering] had to sever the connectors from the HDMI and power cable before reconnecting them once they were fed through.
The really novel part of this restomod is the engineering of the retractable MagSafe charger mount that pops out of the drive bay. [EasternBloc Engineering] started by looking at repurposing an original disc drive, but quickly turned to a bespoke 3D printed solution. Using a LEGO motor and gears for the drive, the system can stick its tongue out at you in a more modern way. A straight in-and-out mechanism like on an original disc drive would’ve been easier to implement, but we appreciate the extra time for angling the phone that respects the ergonomics of the machine. We hope the files will become available soon for this part of the mod since electromechanical components are more interesting than the VESA mount.
We’ve taken a look at how to implement MagSafe (or Qi2) into your own projects and also a few different G4 iMac restomods whether you prefer Apple Silicon or a PC-based approach.

Solid State Logic (SSL) SSL Springverb SSL Springverb Reverb Plugin by Solid State Logic Solid State Logic introduces SSL Springverb, a powerful and meticulously modeled plugin designed to bring the unmistakable sound of vintage spring reverberation tanks into the modern digital studio environment. Spring reverb is a unique electromechanical effect characterized by its metallic decay, distinctive "boing" on transients, and warm, resonant character—a sound that has defined musical genres from surf rock and dub reggae to modern electronic and indie productions. SSL's digital emulation meticulously captures the physical and harmonic idiosyncrasies of these classic hardware units, providing the charm of analog without the maintenance or physical limitations. This plugin provides sound engineers and music producers with far more control and flexibility than a traditional spring tank. At its core, Springverb offers the choice of three distinct spring tank models: Type A, modeled after the spring tank found in a renowned tape delay unit; Type B, derived from a classic rack-mount spring reverb; and Type C, based on the signature spring sound favored by legendary dub pioneers. Users can further customize the reverb's density by smoothly fading the model between one, two, or three springs, instantly altering the complexity and size of the reflection pattern. This level of granular control ensures the plugin is capable of producing everything from short, punchy slaps to deep, ethereal washes of sound. Beyond simple emulation, SSL Springverb incorporates modern studio features that enhance its usability and creative potential. It includes a Drive control to introduce analog-style saturation and grit to the spring signal, allowing users to dial in harmonic complexity or aggressive dirt. Crucially, the plugin features powerful creative tools such as a Freeze function, which holds the current reverb tail indefinitely for ambient sound design, and an audio Ducking feature with internal or external sidechain capabilities, ensuring the reverb remains clear of the dry signal for a cleaner mix. Combined with tempo-syncable Pre-Delay, Damping controls for high-frequency attenuation, and adjustable Spring Tension to tune the inherent "twanginess," SSL Springverb is a flexible tool for classic tonality and cutting-edge sound design. Key Features Three Classic Spring Models: Select from three distinct, authentically modeled spring tanks inspired by iconic hardware units, including rack-mount and dub classics. Variable Spring Quantity: Continuously adjust the density of the reverb by smoothly changing the number of active springs from one to three. Adjustable Spring Tension: Control the physical characteristics of the modeled springs, tuning the tonal character from slow and smooth to quick and jangly. Drive Control: Dedicated parameter to add subtle harmonic color or aggressive saturation and grit to the reverb signal. Duck & Freeze Functions: Modern features including a Freeze button for infinite reverb tails and a flexible Ducking circuit with external sidechain input for dynamic mixing. Tempo Sync: Pre-Delay and Reverb Time controls can be synchronized to the host DAW's tempo for rhythmically locked effects. Creative I/O Controls: Features Kill (mutes the input to the springs) and Boing (manually triggers the spring sound) for instant dramatic or creative effects. Stereo Width Control: Allows the user to collapse the stereo image to mono for vintage authenticity or expand it beyond 100% for an ultra-wide, modern stereo field. Compatibility: Native support for the latest macOS and Windows operating systems, including Apple Silicon. https://youtu.be/ylaLuGiO91c?si=m8MlIZifjLy6o012 Read More

Reactional Music taps MusicInfra to build ‘next-generation’ rights management platform for gaming'Music’s use has exploded across platforms and devices, which means that traditional frameworks and the supporting infrastructure must evolve...'
Source

African Artists Are Reaching More Global Listeners With Help From AudiomackMusic industry data analytics collector, Soundcharts, is teaming up with streaming and discovery platform, Audiomack, to help continue African Music's global expansion trajectory.
The post African Artists Are Reaching More Global Listeners With Help From Audiomack appeared first on Hypebot.

Creating a lo-fi beat and post-rock track with Spitfire’s free orchestral sounds
Expert producer and educator TAETRO showcases the high-quality free instruments available in Spitfire Symphony Orchestra: Discover.

Native Instruments launch Absynth 6 Absynth 6 delivers a completely overhauled and redesigned version of NI's discontinued soft synth, and has been created alongside the much-loved instrument’s original developer, Brian Clevinger.

Ready to start recording? PreSonus Quantum ES and HD interface ranges give you everything you need to lay down your ideasAd feature with PreSonus.
If you’re looking to start recording your own music, things can quickly get overwhelming. There are hundreds of audio interfaces on the market today, with various specs and capabilities that, to beginners, often seem like a foreign language.
PreSonus, the name behind the growing Studio One DAW, may have the answer with Quantum. A streamlined family of affordable next-gen interfaces, the Quantum ES and HD range connect via low-latency USB-C to both Mac and Windows setups.
The Quantum interfaces come in different configurations to meet the needs of everyone from first-time producers and desktop creators to professional tracking engineers — and with seamless Studio One Pro 7 integration and the Universal Control management software, buyers will have a complete package for recording.
A home recording primer – Quantum ES Range

The first question to ask yourself when buying an audio interface is usually how many inputs and outputs you need. If you’re just getting started and simply want to record one thing at a time, the Quantum ES 2 is certainly up to the task.
It has two mic/line inputs for recording microphone and instrument sources, and two line outputs to connect to your monitors. Additionally, there’s a dedicated front-panel instrument input designed in collaboration with legendary guitar manufacturer Fender (who acquired PreSonus in 2021). This input has been specifically tuned for accurate guitar and bass capture, and it’s perfect for recording a DI signal to be used in amp sim plugins like Bias, Guitar Rig Pro, or AmpliTube.
Alternatively, the Quantum ES 4 offers a little more room to grow. It has four mic/line inputs, which is enough for a simple drum recording setup with kick, snare, and stereo overheads. You could use it for recording a grand piano with multiple mics, or even a bare-bones live band arrangement with four instruments captured in mono at the same time.
Plus, the two extra outputs make it possible to connect alternative monitors or pipe audio to outboard effects for further processing. Even if you’re not yet at that point of your recording journey, stretching the budget to extra I/O is often worth it for future flexibility — especially given that both the ES 2 and ES 4 are already very affordable.
Both the interfaces are capable of 24-bit / 192 kHz recording, and feature PreSonus’ new MAX-HD mic preamps that deliver up to 75 dB of clean, low-noise gain. What does that mean for beginners?

24-bit recording offers a wide dynamic range, so you can record at a lower level to avoid accidental clipping or distortion, and turn up the volume later without introducing excessive digital noise. Fortunately, the ES 2 and ES 4 also have an Auto Gain function to easily set the ideal input level.
192 kHz is a very high resolution that can capture a wide range of frequency information, although 44.1 kHz or 48 kHz is fine for most projects.
75 dB of gain means you can use virtually any microphone on the market and get a strong, clear signal without needing an external preamp.

Both the Quantum ES 2 and ES 4 have MIDI in and out for connecting external instruments, although it’s via TRS minijack rather than the more universal 5-pin DIN.
Expanding your setup – Quantum HD Range
Credit: PreSonus
For audio pros, serious home setups, and even commercial studios, the PreSonus Quantum HD interfaces fit the bill. They offer up to 32-bit / 192 kHz analogue-to-digital conversion — the gold standard for audio recording — and have MAX-HD mic preamps with 75 dB gain and ultra-low noise.
There are two models. The Quantum HD 2 has two mic/line inputs and four line outputs, while the Quantum HD 8 has eight mic/line inputs and ten line outs. Both have ADAT optical connectivity that provide powerful multi-tracking capabilities, expanding the I/O to 20×24 for the HD 2 and 26×30 for the HD 8, while MIDI is available via S/PDIF.
Like the Quantum ES range, the HD interfaces feature Fender-designed instrument inputs, but boast another major advantage for guitarists and bassists — dual dedicated re-amp outputs.
Re-amping is a process where a dry DI signal is fed into a hardware amp (which can then be recorded via DI or a microphone), letting the producer change the guitar or bass sound even after the performance is recorded. Often, engineers will use a dedicated re-amp box to ensure the amplifier is receiving the signal at the correct impedance, which can significantly affect the amp’s tone.
This extra box isn’t necessary with the Quantum HD range, since guitarists can come straight out of the interface and into the amp. The re-amp outputs can also be used for sending a signal to other external gear like outboard effects or analogue tape machines.
A match made in heaven – Studio One Pro 7 and Universal Control
Another reason to consider a PreSonus Quantum interface? Each unit comes with a full perpetual licence for Studio One Pro 7, so buyers are getting a complete hardware-software production platform for a single price. Considering alternatives like Ableton and Logic Pro are several hundred pounds, this is a pretty compelling offering for budding producers yet to ally themselves with one particular DAW.
Once paired with the Universal Control software — a hub for software control, monitor mixing, and settings PreSonus devices — the Quantum interfaces harmonise perfectly with Studio One Pro 7. Users can control routing, manage gain, and change presets straight from the DAW.
Which PreSonus Quantum should I choose?
All the PreSonus Quantum interfaces tick many desirable boxes: high-quality pre-amps, low-latency recording and monitoring, and an affordable price tag. These devices make particular sense for guitar-focused workflows and Studio One users — but which model is right for you?
Ultimately, Quantum ES is best for singer-songwriters, guitarists, or those with simpler recording setups. If you’re mostly working in the box with software instruments and want to add guitar or vocals to your tracks, the ES 2 could be perfect — but we’d recommend going for the ES 4. The addition of two extra inputs and outputs may not sound like much, but it offers greater scope for uses like multitrack recording or even live performance.
For engineers and more experienced producers, Quantum HD is the flagship for maximum recording fidelity, advanced routing, and deeper guitar workflows with reamping. The HD 8 may be overkill for home setups, but the HD 2 is an excellent middle ground that could be perfect for rock and metal musicians seeking an upgrade.
Learn more about the Quantum Range and follow @presonus on social media.
The post Ready to start recording? PreSonus Quantum ES and HD interface ranges give you everything you need to lay down your ideas appeared first on MusicTech.

Everything you need to know about Absynth 6 by Native InstrumentsNative Instruments’ Absynth 6 has arrived after a week of teasers from the brand. The hybrid, semi-modular soft synth boasts a powerful system of effects, synth engines, and a new AI-powered preset browser, which all help bring this revered classic into the modern era of music production.
Granular, FM, subtractive and wavetable synthesis are all on board Absynth 6, with presets created by Brian Eno, Kaitlyn Aurelia Smith and Richard Devine. NI’s messaging of Absynth 6 is that it’s “weird by design,” with digital artists Weirdcore and Swarmm contributing to the visual design of the new soft synth.
Here’s what you need to know about the revival of Absynth.
READ MORE: Native Instruments Absynth 6 review: The return of a vintage classic
Absynth 6 key features at a glance

Plugin and standalone software synthesizer, in VST2, VST3,
Includes effects plugin variant
Hybrid, semi-modular synth engine
3 multi-model oscillators
2 multi-model processor stages per oscillator
2 multi-model master bus processors
28 envelopes with a maximum of 68 breakpoints per envelope
3 advanced LFOs
Master effects processor
Custom waveform creator
Mutate parameter randomisation
Full MPE and polyphonic aftertouch
Innovative graphical Preset Browser
Presets by Brian Eno, Kaitlyn Aurelia Smith and Richard Devine
Surround sound and microtuning
Legacy patches from all previous versions of Absynth

What happened to Absynth 5, and when did Absynth 6 start being made?
Around three years ago, Native Instruments announced that Absynth, perhaps the best pad and soundscape synth to ever exist, was being discontinued – no more sales, no more support, no more updates. Those with a license could continue to download, install, and use the software, but this was ultimately the end of a synth so innovative and accomplished that its every patch could be a near symphony in its own right.
Or so it seemed.
Fast forward to summer 2025, when I had just about got over the loss, and NI wrapped up one of its press events with a huge tease: A large “6” on a green background. Not just any old green — it was the same shade as traditionally used by Absynth. “Could it be…?” I asked my contact at NI. “Yup,” they confirmed.

Why has it taken so long for Absynth 6 to be released?
Absynth first hit the shelves in the early days of the soft-synth revolution, way back in 2000. Following a now familiar pace of updates, by 2010 the synth had reached version 5. And there it stayed for 12 years, right up to the 2022 deprecation announcement.
Of course, it was around 2010 that NI started to become the industry behemoth that it is today, and so it’s little surprise that its attention was focused on newer products and technologies. And, to be fair, there was little need to pour attention into Absynth 5: it was already a mature, respected and highly evolved product. Users held out hope for an update that would bring new patches and new Absynth-flavoured toys to play with, but didn’t feel dissatisfied with what they had with Absynth 5.
This changed when Apple Silicon Macs came along. Absynth could not run natively on the platform and, with the synth having fallen so far behind the technological curve, it would take a lot of effort to bring it up to date and furnish it with the features demanded by modern producers.
With so many other products to develop and maintain, NI eventually concluded it didn’t have the bandwidth to drag such an aged product into the 2020s and beyond.
But nobody can accuse NI of having grown too big to listen to its users. With the weeping and wailing of distraught Absynth users ringing in its ears, NI got together with the synth’s original developer, Brian Clevinger, and started making plans.

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Why is Abysynth 6 such a big deal?
“When I originally created Absynth,” says Brian Clevinger, “I wanted an instrument that invited people to lose themselves in sound. Seeing it evolve into Absynth 6 has been genuinely moving. It still has that strange, alive quality,” Clevinger says in a press release.
By the time Absynth 5 came out in 2010, the synth had firmly established itself as the go-to instrument for creating breathtaking pads, ethereal soundscapes, otherworldly SFX, warped and off-the-wall interpretations of acoustic instruments, and a very good line in classic analogue and digital synth tones.
It’s hard to understate Absynth’s tone-wrangling prowess. Although made up of familiar synthesiser fare – oscillators, filters, and all the rest of it – the instrument’s semi-modular architecture and generous supply of envelopes and modulators combine to create some of the most achingly beautiful (and, indeed, terrifyingly hellish) sounds you will ever hear from a synth. Pads contain phenomenal sonic detail, soundscapes endlessly shift and evolve, classic synth tones and acoustic instruments gain extra dimensions of real-time control and performability.
These core capabilities remain in Absynth 6, but are now graced by a decade-and-a-half of technological progress and advances in UI and UX design. MPE and polyphonic aftertouch support add a new depth of interaction and performance to the synth. Extensively editable envelopes with flexible breakpoints and shapes provide an astonishing toolset for creating powerful rhythmic, evolving, and just plain mad modulations. The overall presentation has been updated to look crisp and modern, and an all-new (and stunning) graphical patch browser makes it easy to hunt out the perfect sound from within the instrument’s vast patch library.
Moreover, Absynth was the godfather of the quasi-randomisation of patches seen on so many synths today, its near-legendary Mutate system able to morph and warp a chosen sound by a controllable amount whilst retaining elements of that sound’s original character. Many a happy sound design accident has started with a click on Absynth’s Mutate button, and this is now enhanced with greater visibility of, and control over, what the Mutate system is doing.
Many other synths on the market today can create sounds akin to those that are Absynth’s raison d’être. Uber-synths such as Pigments, Serum and Falcon – plus, indeed, NI’s own Massive X – can all produce similarly enthralling sounds and textures.
Yet there remains something special about how Absynth performs. It’s easy and intuitive to use, and gives the impression of having a near-magical ability to produce sounds that are instantly exciting and inspirational. So much so that browsing through its voluminous patch library takes forever simply because of the constant distraction of new musical ideas that flow from the gorgeous tones the synth produces.
We normally think of classic vintage synths as being dusty old slabs of hardware, yet despite being a soft synth, I can’t help but think of Absynth’s return with the same awed excitement as when Moog released the Minimoog or Sequential put the Prophet back into production. This really is the return of a vintage classic.
How much does Absynth 6 cost?
Absynth 6 can be bought as a one-time license for $199/€199/£179. If you’re already an owner of Absynth versions 2 to 5, you’ll be eligible for an upgrade from Native Instruments — Absynth 2-5 owners can upgrade to Absynth 6 for $99/€99/£99
Is Absynth 6 worth buying?
In my review of Absynth 6, I said: “Absynth 6 is a masterstroke, its updates making it better than ever without sacrificing any of its originality and unique appeal…The graphical browser is exceptionally intuitive and, more importantly, makes light work of finding suitable sounds. Once you find something close to what you want, you can easily check out all of the other patches in the same timbral neighbourhood. It really is the most effective sound browsing system I’ve ever encountered.”
Absynth 6 is available now.
The post Everything you need to know about Absynth 6 by Native Instruments appeared first on MusicTech.

Gulf Coast Synthesis releases Strum Plate, a FREE Omnichord-inspired plugin
Strum Plate is a free Omnichord-inspired MIDI effect plugin from Gulf Coast Synthesis, available in AU, VST3, and AAX formats for macOS and Windows. If you’re wondering what on earth an Omnichord is, you’re likely not alone. If you already know, then you’re one of the lucky ones! Well, perhaps saying one of the lucky [...]
View post: Gulf Coast Synthesis releases Strum Plate, a FREE Omnichord-inspired plugin

Clipping. Announced as the 2026 Sled Island Music Festival Guest CuratorIn this post, we share details of Sled Island's announcement, plus how and why guest curators can offer local audiences a more bespoke largescale event experience in 2026.
The post Clipping. Announced as the 2026 Sled Island Music Festival Guest Curator appeared first on Hypebot.

Native Instruments Absynth 6 review: The return of a vintage classic€199 / €99 upgrade price from Absynth 2 or higher, native-instruments.com
Absynth was a truly groundbreaking synth when launched in 2000, way back at the advent of the soft-synth. It was designed to be an entirely original instrument to showcase the phenomenal potential of real-time, computer-based synthesis.

READ MORE: MusicTech’s favourite plugins of 2025

By the time its fifth version rolled around in 2010, Absynth’s unique character and astonishing sound-design prowess had gained it many adherents and fans, yet there it stayed at version 5, developmentally dormant and falling ever further behind the technological curve. Despite the writing on the wall being written in metre-high text, it still came as a shock when, in 2022, NI announced its decision to retire Absynth.
Roll the clock forward to 2025 and, with the disgruntlement of fans showing little sign of abating, NI quietly put together a team led by original developer Brian Clevinger and tasked it with giving the aged synth the complete overhaul it has needed for so long.
At long last, rising phoenix-like from the ashes of its outdated code, Absynth 6 has finally arrived.

Balancing old and new
Despite receiving a belt-and-braces rewrite and a number of new features, NI and Clevinger have taken great care to retain everything that made Absynth so special in the first place. The new interface design epitomises this balancing act, being fully refreshed and modernised whilst remaining reassuringly familiar and accessible. Newcomers to the synth will see a smart, slick user interface, while old hands will feel right at home.
Similarly, from the user’s perspective at least, Absynth’s core synth engine remains much the same as it was. It has the same semi-modular architecture featuring three oscillators, each feeding through a pair of processing modules before being mixed into a master bus featuring another pair of processors and an effect module.
Although visually refreshed, Absynth 6’s oscillators are largely unchanged from v5, retaining the same choice of nine models: Single waveform, Double waveform, FM, Ring Mod, Fractalize, Sync Granular, Sample, Granular and Audio In, the last also serving to support Absynth’s effects plugin variant. The only functional difference lies in the Granular engine, where increases in computing power have allowed a four-fold increase in the maximum number of grains it can produce, allowing it to create thicker, richer tones than before.
Unchanged too are the pairs of ‘insert’ processing modules that follow each oscillator, and the further pair of such modules that are the first port of call in the master bus. The graphical reworking makes these look like new modules, but their function remains much the same, offering a choice of modulators (frequency shifter, ring modulator and waveshaper) and 13 different filter models.
Multi-model oscillators and processors are commonplace these days, but Absynth was a pioneer of this concept. Its choice of models isn’t perhaps as sonically diverse as the likes of UVI Falcon or Kilohearts Phase Plant, but they have a clarity and character that lies at the heart of the classic Absynth sound. If it ain’t broke…
Improved effects page. Image: Press
Reworked filters and effects
The filter models have been overhauled, with a new suite of ladder filters (low-pass, high-pass, band-pass and notch) that give a wonderfully analogue-like sound and response. The original Absynth filters are included as ‘legacy’ filters, but these have lost the option to add a modulator to the internal feedback loop, which drives their resonance, an ability that now lies in a new pair of Feedback Filter models.
Also carried over from Absynth 5 are the Comb, Supercomb and Cloud filter models, the latter being a rather novel beast that uses granular processing to create shifting, comb-like filter effects, perfect for the ever-evolving soundscapes for which Absynth is deservedly famous. As with the Granular oscillator, the Cloud filter can now produce a denser cloud of grains thanks to a new ‘HD’ switch, and this gives the filter a smoother, fuller sound.
The effect module, which follows the two master insert processor slots, retains the same choice of six somewhat esoteric processors: Multicomb provides another opportunity to shape and animate the harmonics in a sound, Resonators and Pipe generate natural and artificial resonances, and Echoes and Multitap give two different takes on (relatively) conventional delay effects. But the star of the show is surely the Aetherizer effect, a granular-based delay that can transpose, filter and resonate the grains it produces, and this too has received the same grain density upgrade as the Granular oscillator and Cloud filter.
Innovative patch browser. Image: Press
Searching for sounds with Absynth 6
Admittedly, these changes to Absynth’s sound engine aren’t extensive, but they add massively to the synth’s sound-design potential without losing compatibility with older Absynth patches. In fact, Absynth 6 can load patches from any previous version, so if you have a library of custom patches, they will still work, and the synth comes with all factory presets from previous versions alongside a bunch that are new to v6.
In the patch browser, sounds are categorised by type and sub-type, for example, the Bass category wraps Analog Bass, Bass Line, and more. Nevertheless, finding sounds within such a vast collection would be a creativity-crushing hunt for a needle in a haystack were it not for one of Absynth 6’s most impressive innovations: the Preset Explorer.
This presents a cloud or constellation of dots in which each dot represents a patch within the library and is coloured according to the patch type (bass, pad, lead, etc.). Using an AI deep learning system, the unique timbral qualities of a sound are analysed, and the greater the similarity between two patches, the closer together their dots in the browser. Hovering over a dot reveals its patch name and attributes, clicking a dot focuses the view and auditions the patch’s sound, and double-clicking loads the patch ready to be played. Better yet, the included presets are created by synth heroes Brian Eno, Kaitlyn Aurelia Smith and Richard Devine.
This graphical browser is exceptionally intuitive and, more importantly, makes light work of finding suitable sounds. Once you find something close to what you want, you can easily check out all of the other patches in the same timbral neighbourhood (or, indeed, in completely different neighbourhoods). It really is the most effective sound browsing system I’ve ever encountered.
Improved modulation management. Image: Press
Modulation and mutation
Absynth has a well-deserved reputation for producing endlessly evolving pads and soundscapes, the key to this being its generously flexible parameter modulation tools – 28 envelopes with built-in LFOs and up to 68 breakpoints each, three advanced standalone LFOs with support for custom waveforms, 16 assignable macros and various incoming real-time controllers. The exciting news here is that Absynth now supports MPE slide and polyphonic aftertouch, bringing a new depth of performability to what was already an abundantly expressive instrument.
That aside, the main changes here are, again, visual, with the clunky interfaces of yore replaced with clean, slick views that are much easier on the eye, and feature modern interaction methods that make them far more pleasant to work with. Similarly, the tools for creating custom waveforms for use in oscillators, signal modulators and LFOs have been refreshed so that it’s easier to form accurate shapes, or to position harmonics when creating waveforms in Spectrum editing mode.
And of course, there’s Absynth’s Mutate function, the forebear of parameter randomisation features that are now commonplace. Control over the target and strength of mutation is more manageable, and the obligatory Mutation History list remains, so that you can quickly step back and forth through the results of multiple mutations.
Flexible envelopes. Image: Press
Absynth 6 – worth the wait?
The updates in Absynth 6 may seem meagre given the 15-year hiatus since its previous release, and some may argue they haven’t been worth the wait. This isn’t the right way to look at it, though. After all, was the rerelease of the Minimoog or Sequential Prophet 5 worth the wait? No. But they were welcome returns of unique vintage classics, subtly updated to make them more amenable to modern music makers.
What’s that you say? A software synth can’t wear the ‘vintage classic’ badge? I beg to differ! Absynth has been around for 25 years, the same amount of time as lies between the launch of the Synclavier and the release of NI Kontakt. Similarly, the 12 years between Absynth 5’s launch and the instrument’s (now reversed) retirement is the same as the span between the first Minimoog and the arrival of its nemesis, the Yamaha DX7.
By any reasonable measure, then, Absynth qualifies as a vintage classic synth, and so Absynth 6 should be seen in the same light as any other rereleased classic. And seen in those terms, Absynth 6 is a masterstroke, its updates making it better than ever without sacrificing any of its originality and unique appeal. I absolutely love it!
Key features

Plugin and standalone software synthesizer
Includes effects plugin variant
Semi-modular architecture
3 multi-model oscillators
2 multi-model processor stages per oscillator
2 multi-model master bus processors
28 envelopes with maximum of 68 breakpoints per envelope
3 advanced LFOs
Master effects processor
Custom waveform creator
Mutate parameter randomisation
MPE slide and polyphonic aftertouch
Innovative graphical Preset Browser

The post Native Instruments Absynth 6 review: The return of a vintage classic appeared first on MusicTech.

These are the best-selling synths, drum machines and controllers at Reverb in 2025As 2025 comes to a close, Reverb has revealed its best-selling synths, drum machines, controllers and samplers of the year.
“As musicians, we utilise Reverb’s data, from the Price Guide to our indexes, to make decisions when buying and selling gear – and our best-selling gear lists have become a fun tradition that allows us to see where our favourite synths, pedals and more fit into the grand scheme of things each year,” says Joel Handley, Reverb News Editor-In-Chief.
“By expanding our coverage and digging into our data, we’re giving musicians everywhere the ability to do the same.”
Synths
The Elektron Digitakt reigned supreme in last year’s best-selling synths on Reverb, but in 2025 has been dethroned by the compact and uber-affordable Arturia Microfreak. Elektron retains a degree of real estate on the list, though, as its eight-voice polyphonic synth, the Digitone, comes in second place, while its 12-track drum machine and synth, Syntakt, places in 9th.
Arturia’s MiniFreak bags the bronze slot, while Korg secures itself two places in the middle of the table with its MicroKorg Crystal and Minilogue XD units. Moog’s limited Minimoog Model D developed in partnership with Rush bassist Geddy Lee is a surprise entry on the list; despite boasting a $5k+ price tag, the synth comes in at 7th place.
Take a look at Reverb’s 10 best-selling synths of the year below:

Arturia Microfreak
Elektron Digitone
Arturia MiniFreak
Make Noise Maths Module
Korg MicroKorg Crystal
Korg Minilogue XD
Moog Geddy Lee Minimoog Model D
Dirtywave M8
Elektron Syntakt
Moog DFAM

Drum machines, samplers and controllers
The Ableton Push 2 is crowned the victor in the best-selling drum machines, samplers and controllers of 2025, followed closely by the Roland SP-404MKII. The Elektron Digitakt slips two places from first to third, while Teenage Engineering stakes a claim for fourth and fifth place with the OP-1 and EP-133 KO-II, respectively. The Roland TR-8S, Akai MPC Live II and Native Instruments Maschine MKIII also bag places on the list.
Check out Reverb’s 10 best-selling drum machines, samplers and controllers below:

Ableton Push 2
Roland SP-404MKII
Elektron Digitakt
Teenage Engineering OP-1
Teenage Engineering EP-133 KO-II
Elektron Digitakt II
Roland TR-8S Drum Machine
Akai MPC Live II Standalone Sampler/Sequencer
Native Instruments Maschine MKIII
Teenage Engineering OP-1 Field

Check out a full list of Reverb’s best-selling gear in 2025.
The post These are the best-selling synths, drum machines and controllers at Reverb in 2025 appeared first on MusicTech.

Ocean Swift releases Tyrian Tine, a FREE unstable chime engine for Kontakt Player
Ocean Swift has released Tyrian Tine, a free Kontakt Player instrument that blends metallic chimes, wavetable motion, and controlled instability into an expressive sound-design tool. I like how Tyrian Tine combines two very different layers: an intentionally unstable wavetable oscillator and a curated sample engine built from bells, kalimbas, music boxes, and other metallic percussive [...]
View post: Ocean Swift releases Tyrian Tine, a FREE unstable chime engine for Kontakt Player